1960 Le dВjeuner sur lherbe (Manet) Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a group of figures seemingly engaged in a leisurely gathering within a densely vegetated setting. The scene is dominated by a palette of muted greens and grays, contributing to a sense of enclosure and perhaps even melancholy. Here we see three nude individuals; one seated, appearing to be male, with his hand raised towards his chest, while the other two are positioned in more dynamic poses. One figure strums what appears to be a stringed instrument, her gaze directed upwards, seemingly lost in thought or music. The third individual reclines, their form partially obscured by the surrounding foliage and the angular rendering characteristic of the style.
The artist’s approach to depicting form is markedly unconventional. Bodies are fragmented into geometric planes, with sharp angles and distorted proportions that eschew naturalistic representation. This deconstruction challenges traditional notions of beauty and anatomical accuracy, instead prioritizing a conceptual exploration of shape and volume. The figures lack depth; they appear flattened against the background, further emphasizing their two-dimensionality.
The setting itself is rendered in broad strokes, with foliage suggested rather than meticulously detailed. This simplification contributes to an overall sense of abstraction, blurring the distinction between figure and environment. The limited color range reinforces this effect, creating a unified visual field that prioritizes form over realistic depiction.
Subtly, theres a feeling of awkwardness or unease conveyed through the arrangement of the figures. Their gazes are averted, their postures ambiguous; they do not interact in a conventional social manner. This lack of connection suggests a sense of isolation and alienation, perhaps reflecting a broader commentary on modern society’s disconnection from nature and from one another. The deliberate disruption of perspective and anatomical norms could be interpreted as a rejection of academic tradition and an embrace of subjective experience. Ultimately, the work seems to question established artistic conventions while simultaneously exploring themes of human interaction, perception, and the representation of the body.